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I always loved acting and improv and sketch comedy and theater, which I did at a local youth theater.
If you do a sketch, that's a very short narrative. Stand-up, it's bit-to-bit, minute-long narratives.
When you're writing a sketch, it has to be surrounded by a situation. It can't just be out of the air.
When a sketch comes into this three-dimensional form and everybody contributes, it's really fantastic.
I feel passionately that we need more space on TV for sketch shows for character actors to experiment.
When you're doing sketch comedy and you're pregnant, it's like wearing a giant sombrero in every sketch.
I can't think of another place other than TV where a five-person sketch comedy group could make a living.
I normally keep a series of draft in a catalogue type of book in which I scribble, sketch and draw ideas.
The best sketch shows are from a group of tight-knit people who've worked together for a really long time.
What I've learned from sketch is you can get it as perfect as you want, and it's never going to be perfect.
'Mad TV' is one of my most favorite shows of all time and is a huge part of my obsession with sketch comedy.
I have a paper, pencil, and ink sketch for a Mickey Mouse cartoon short entitled 'Mickey's Garden' from 1935.
Sketch comes from everyday life. You can see someone on the street, and it can turn into a five-minute sketch.
I can sketch up a storm, and I'm very involved in how clothes are constructed, but I have a short attention span.
Commercial directing felt like a very natural transition from my comedy, sketch, music video directing experience.
I watch a lot of YouTube videos. I like game play channels like the Game Grumps. But I mostly watch sketch comedy.
Well, I loved variety in television, I loved sketch comedy. At 'Saturday Night Live,' I stayed almost seven years.
I always say when you write a book, you're a 'one-man band.' Whereas, when you finish a screenplay, it's just a sketch.
If you don't like the people, you're just doing a sketch. Which, in most cases, is comedy minus some emotional backbone.
Animation is very similar to sketch comedy: you have a short amount of time to do something big and ridiculous and funny.
People get recruited from sketch groups and put on 'Mad TV' and 'SNL,' but those aren't ensembles, they're all-star teams.
I have a sketch of an idea and I never really talk about: perhaps do another jazz record, but with other elements involved.
What I love is getting a new joke, or a premise like a sketch idea or a movie idea. That's the best feeling for a comedian.
As a kid, 'The Monkees' was such a cool show. I had such a thrill saying, 'OMG, I was in a sketch with one of the Monkees.'
Graphic novels are such a visually creative world - it's really interesting what they can do in one sketch. Now I'm hooked.
Dealing with sketch comedy and buddy teams like Abbott and Costello, Bob Hope and Bing Crosby - I just loved buddy comedies.
At first, there was a separation of clubs and sketch comedy. Now there's all kinds of comedy, making us one big happy family.
No one will ever be as good as Phil Hartman. He was such an amazing genius, and may be the best sketch performer of all time.
A good sketch show, in my opinion, gets together a bunch of fun, funny people and collects their brainfarts, and shares them.
I did a couple of sketch shows with Mike Palin and Terry Jones... and then I got hired by Granada to do a weekly topical show.
Nobody wants to see sketch comedy that's the same sketch they've seen time and time again, or that's just a rehash of that thing.
When I was on 'The Big Gay Sketch Show' I thought, 'Well, this is going well now, but then when it's over I'll just be a barista.'
That's what I love about sketch comedy: a sketch is five minutes, then it goes dark, and there's the potential for something else.
I used to put on sketch shows at boarding school when I was eight. I'm not sure about the material, but it did used to get a laugh.
I'd worked on music docs for years. It felt like writing a novel. By the time I got to Keith Richards, it felt like making a sketch.
I get recognised a fair bit. It goes up when 'Peep Show' or the sketch show is on the telly or when we're doing loads of interviews.
It's certainly strange to do sketch comedy with cue cards at midnight in a skyscraper as opposed to in a basement with your friends.
I sketch while I'm on set, and it's a way for me to record all of the locations I've been to. I don't keep a diary but a sketchbook.
Sometimes I sketch and then scan my sketch directly to make the curves more freehand. I don't want to make perfect industrial curves.
I've always drawn a lot. I like the idea of turning a 2-D sketch into a 3-D thing very quickly. And clothing is really good for that.
Every sketch goes through a rewrite stage where a group of writers sits around a table and pitches more jokes and ideas for the piece.
I started stand-up in 2007. I'd done a couple of gigs before that, but not much, and I was in a sketch group at Uni from 2005 as well.
Sketch shows change gears so drastically every two minutes. I think sketch shows are for sketch fans; they're not really for everybody.
A couple of friends and I started a sketch comedy group when we were teenagers, just for fun and to start creating stuff. It was a blast.
Getting recognized on the street is fine, but I never really wanted to be famous. I just wanted to have mastered the art of sketch comedy.
I wrote for this sketch group called Olde English for about six years and we made a movie together, but we sort of stopped making sketches.
My mom would take me to restaurants, and the first thing I'd ask for would be a pen and a napkin, and I'd sketch shoes and shoes and shoes.
Cell phones, alas, have pretty much ruined train travel, which I used to love. I could read or even sketch notes for what I was working on.
I steal props from 'SNL' a great deal. Almost every sketch I'm in, I try to grab something from it, so I have a storage space full of props.
For the Emmys, my friend Rooney Mara designed a dress for me with her brand, Hiraeth. It's so neat to see a sketch turn into a full-on look.